As predictable as the British summer rain and just as eagerly anticipated by music nerds nationwide, the Mercury Prize season is once again upon us. Come Thursday (25th July), the great and good of the British music industry will gather to anoint twelve albums deemed worthy of competing for that most curious of accolades: a £25,000 cheque and the guarantee of a sales boost that would make even the most jaded record exec dribble embarrassingly – even more than they usually might.
But what’s all the fuss about, really? Since its inception in 1992, the Mercury has carved out a unique niche in the awards landscape, positioning itself as the thinking person’s BRIT Awards, a bastion of good taste in a sea of industry backslapping. It’s been a career-altering force capable of catapulting obscure artists into the spotlight or cementing the legacy of established acts. Just ask Arctic Monkeys, whose 2006 victory for ‘Whatever People Say I Am, That’s What I’m Not’ helped launch them into the stratosphere of global stardom (though one suspects they were already doing alright regardless).
Of course, for every success story, there’s a cautionary tale. The pages of music history are littered with Mercury winners who briefly basked in the glow of critical acclaim only to fade into obscurity faster than you can say “Roni Size & Reprazent”. But that’s all part of the fun, isn’t it? The Mercury Prize is nothing if not a snapshot of a moment in time, a cultural time capsule that future generations will undoubtedly look back on with a mixture of nostalgia and bafflement.
In recent years, the prize has continued its tradition of eclectic recognition. Arlo Parks’ introspective ‘Collapsed in Sunbeams’ claimed the trophy in 2021, followed by Little Simz’s critically acclaimed ‘Sometimes I Might Be Introvert’ in 2022. Last year, jazz collective Ezra Collective scooped the prize with their vibrant ‘Where I’m Meant to Be’, as ‘the jazz album’ on the shortlist finally got the bin wig.
So, what delights and potential headscratchers await us in 2024? Before we don our prognostication hats and prepare for the inevitable pub arguments, let’s take a moment to demystify the inner workings of this most curious of prizes.
A dummy’s guide to the Mercury Prize rules
For those who’ve ever scratched their heads over the Mercury’s seemingly arcane selection process, fear not. Here’s a bite-sized breakdown of the basics:
Eligibility: Albums must be released between 15th July 2023 and 12th July 2024 by British or Irish artists. Solo artists, duos, and bands all qualify, but compilations and reissues are out of the running.
Nomination: Record labels submit albums for consideration, paying a fee for each entry. There’s no limit on how many albums a label can put forward, other than the depth of their pockets. You can draw your own conclusions about how this one may shake out when it comes to the pool of potential shortlisted acts.
Judging: A panel of music industry experts, including journalists, broadcasters, and artists, pore over the submissions to create the shortlist and, ultimately, choose the winner.
The Prize: Beyond the prestige (and the inevitable “Mercury Prize nominated” sticker on album reprints), the winning act receives a £25,000 cash prize and a significant boost in album sales and streaming numbers. Not too shabby for a night’s work.
Genre Agnosticism: The Mercury prides itself on considering all genres equally, from pop to classical, grime to folk. This leads to the annual tradition of comparing apples to oranges, or more accurately, comparing experimental jazz odysseys to three-minute pop bangers and a rewrite for that think piece about the lack of metal.
Now that we’ve sorted the particulars let’s dive into the potential contenders for 2024’s shortlist. Remember, Dear Reader, that what follows is equal parts informed speculation and wild conjecture – the true joy of the Mercury lies in its capacity to confound expectations and occasionally nominate an album that leaves us all scratching our heads and rushing to Spotify. But if this first one isn’t on the list, we riot…
Charli xcx – ‘Brat’
A neon-hued wrecking ball that demolishes pop expectations and rebuilds them in Charli’s audacious image.
Released: 7th June 2024 Key Tracks: ‘Von Dutch’, ‘360’, ‘Club Classics’, ‘Sympathy is a Knife’, ‘Girl So Confusing’, ‘Apple’ (basically all of it)
Fuck beige, boring music. This year, we’re turning neon green. ‘Brat’ arrived into the summer like a Molotov cocktail through the window of complacency. Special advisor Charli xcx has crafted a way of living masquerading as an album, a hyperkinetic journey through the funhouse mirror of modern celebrity and youth culture. The production, courtesy of a veritable Who’s Who of electronic alchemists, creates a world that’s equal parts sci-fi dystopia and underground rave circa 2045.
But beneath the maximalist assault on the senses lurks a canny commentary on fame and the fickle nature of pop culture. Charli isn’t just making bops; she’s dissecting the very nature of popularity in the digital age. It’s as if Andy Warhol’s spirit decided to possess a particularly gifted laptop producer.
‘Brat’ feels like the culmination of everything Charli’s been working towards – a perfect distillation of her pop vision that’s impossible to ignore. In a musical landscape where the digital drift can set the path for a whole slew of algorithm-friendly blandness, she stands out like a supernova in a sea of dying stars. The Mercury judges would do well to take notice – after all, sometimes the brattiest voices have the most interesting things to say.
CMAT – ‘Crazymad, for Me’
A technicolour odyssey through heartbreak and time travel that proves profundity can come gift-wrapped in glitter and punchlines.
Released: 13th October 2023 Key Tracks: ‘California’, ‘Vincent Kompany’, ‘Rent’
CMAT’s second effort is a kaleidoscopic exploration of love, loss, and the absurdity of the human condition. Ostensibly a concept album about a middle-aged woman building a time machine to salvage a doomed relationship, it quickly reveals itself to be so much more. Ciara Mary-Alice Thompson has crafted a world that’s equal parts Nashville honky-tonk and sci-fi drama, with David Lynch directing and a Greek chorus of football commentators providing backing vocals.
What makes ‘Crazymad, for Me’ so compelling is CMAT’s ability to find the absurd in the everyday, mining profound truths from the most ridiculous scenarios. Her lyrics veer from laugh-out-loud funny to gut-wrenchingly poignant, often within the same line. Musically, it’s a buffet of influences, blending country twang with indie pop sensibilities and the occasional disco beat.
Building on her debut’s promise, this album showcases an artist hitting her stride with the confidence of a tightrope walker who’s just discovered they can fly. Screw navel-gazing, CMAT reminds us that sometimes the most incisive observations come wrapped in a joke. The Mercury judges would do well to set their TARDIS for this particular musical adventure.
Nia Archives – ‘Silence Is Loud’
A genre-defying debut that bridges generations of dance music culture.
Released: 12th April 2024 Key Tracks: ‘Silence Is Loud’, ‘Crowded Roomz’, ‘Tell Me What It’s Like’
With ‘Silence Is Loud’, Nia Archives doesn’t just announce her arrival – she throws a party that spans decades of dance music culture. Her debut is a masterclass in genre synthesis, seamlessly blending jungle’s frenetic energy with indie rock’s raw emotion and neo-soul’s introspection. It’s as if the entire history of British subcultures were called to a summit, with Nia as the supremely talented mediator.
What sets this album apart is its emotional depth. Archives has created dance music that’s not afraid to feel, exploring the complex emotions that often bubble beneath the surface on the dancefloor. Thematically, it grapples with identity, belonging, and urban loneliness, turning the club into a space for confrontation, growth, and healing.
Despite its myriad influences, the album’s cohesion speaks to Archives’ clear artistic vision. She isn’t just participating in dance music culture; she’s actively shaping its future. ‘Silence Is Loud’ crackles with innovation and energy. It’s jungle for the TikTok generation, breakbeats for the broken-hearted, and a strong contender for Mercury recognition.
The Last Dinner Party – ‘Prelude to Ecstasy’
A theatrical debut that wears its heart on its frilly sleeve and proves there’s still room for unabashed romanticism in rock.
Released: 2nd February 2024 Key Tracks: ‘Burn Alive’, ‘Nothing Matters’, ‘The Feminine Urge’
The Last Dinner Party’s ‘Prelude to Ecstasy’ arrives like a gulp of pure oxygen after being underwater for too long – a sumptuous feast that leaves you simultaneously satiated and ravenous for more.
The band drapes themselves in their influences like a fabulous cloak stolen from Kate Bush’s wardrobe sale. Echoes of Siouxsie Sioux’s gothic allure and Freddie Mercury’s theatricality abound, yet the result feels thrillingly new.
‘Prelude to Ecstasy’ takes us on a rollercoaster ride through the emotions of early adulthood, each track a new twist that leaves you breathless but eager for another go. It’s an album that demands to be experienced communally, preferably in a field at sunset with several thousand of your closest friends, all swaying in unison and feeling things intensely.
The Last Dinner Party have arrived at precisely the right moment, offering a much-needed antidote to cynicism. Don’t be surprised if the Mercury judges RSVP to this particular soirée – in a landscape dominated by cool detachment, their passionate authenticity feels positively revolutionary.
Dua Lipa – ‘Radical Optimism’
Sometimes, the most revolutionary act is dancing in the face of despair.
Released: 3rd May 2024 Key Tracks: ‘Houdini’, ‘Training Season’, ‘Illusion’
Building on ‘Future Nostalgia’’s retro-futuristic foundation, with ‘Radical Optimism’ Dua pushes into uncharted territory that feels both familiar and thrillingly new. What’s striking, though, is how personal it feels – Dua lets us peek behind the curtain, revealing the person behind the pop star.
The album seamlessly blends intimate confessionals with stadium-sized bangers, creating a listening experience that’s both introspective and communal. It’s the rare pop record that makes you want to dance your troubles away and journal about your feelings, possibly simultaneously.
In a world often devoid of hope, ‘Radical Optimism’ feels like a necessary antidote – acknowledging the darkness but choosing to flick on the lights and start a dance party instead. While the Mercury Prize isn’t known for favouring mainstream pop, there’s precedent for recognising artists who elevate the form. Dua Lipa has crafted an album that’s both a collection of potential hits and a cohesive artistic statement. Don’t start now – start dancing.
Yard Act – ‘Where’s My Utopia?’
A genre-defying tapestry that proves in a world gone mad, sometimes the court jester speaks the most truth.
Released: 1st March 2024 Key Tracks: ‘We Make Hits’, ‘Dream Job’, ‘Petroleum’
If Yard Act’s debut kicked in the door of the British music scene, ‘Where’s My Utopia?’ redecorates the whole house with a mixture of charity shop finds and high-end art pieces that shouldn’t work together but somehow do. It’s an album that poses big questions while never forgetting to make you bounce around the living room.
The band expands their sonic palette far beyond spiky post-punk, incorporating elements of disco, hip-hop, and even yacht rock. The result is as unpredictable as it is captivating.
Frontman James Smith remains one of British music’s sharpest observers. His narratives are populated by a cast of characters that feel uniquely British yet universally relatable. What’s really impressive, though, is how ‘Where’s My Utopia?’ balances weighty themes with a sense of fun. It’s serious music that doesn’t take itself too seriously. Yard Act’s previous Mercury nomination proves they’re on the judges’ radar, and this album feels like a significant leap forward. In a year of strong contenders, don’t be surprised if they find their utopia on the shortlist.
English Teacher – ‘This Could Be Texas’
A love letter to provincial life that proves sometimes the most universal stories come from the most specific places.
Released: 12th April 2024 Key Tracks: ‘The World’s Biggest Paving Slab’, ‘Mastermind Specialism’, ‘R&B’
In a landscape dominated by London-centric narratives, English Teacher’s ‘This Could Be Texas’ arrives like a breath of fresh northern air – albeit one tinged with the particular melancholy of a rainy day in Leeds and the vague sense you’ve missed the last bus home.
The band crafts a sonic world as varied and unpredictable as British weather. Post-punk angularity rubs shoulders with dreamy shoegaze, while flashes of jazz and prog add unexpected colour. Lily Fontaine’s vocals alternate between spoken-word drawl and soaring melodies, painting vivid pictures of urban ennui and small-town dreams. Each track feels like a short story set to music, populated by characters both uniquely British and startlingly familiar.
‘This Could Be Texas’ finds the universal in the hyper-specific, exploring themes of belonging and the push-pull between roots and ambition. Don’t be surprised if the judges take a trip up north – they might discover Texas is closer than they thought.
IDLES – ‘TANGK’
A revelation that proves even the loudest voices can find beauty in quieter moments.
Released: 16th February 2024 Key Tracks: ‘Gift Horse’, ‘Dancer’, ‘Grace’
In a world teetering on chaos, IDLES crash in with ‘TANGK’ – a bear hug and battle cry rolled into one. Their fifth album, produced by Kenny Beats, reveals a softer, stranger, yet somehow more vital incarnation of the band.
IDLES expand their sonic palette far beyond their earlier post-punk brutality. There’s a newfound emphasis on texture and space, with moments of genuine beauty punctuating the characteristic fury like sunlight through storm clouds. It’s as if they’ve traded sledgehammers for surgeon’s tools, attacking themes with precision rather than blunt force.
Joe Talbot remains one of British music’s most compelling voices – even at a time when some have cast it into parody. His lyrics by turn angry, tender, confused, and hopeful – often within the same song. ‘TANGK’ feels like a meditation on humanity in an increasingly inhuman world, a rallying cry for connection in an age of division.
What’s most impressive is how the album balances weighty themes with joy and catharsis. It’s the sonic equivalent of a group therapy session in a mosh pit, thought-provoking and physically cathartic in equal measure. IDLES are no strangers to the Mercury Prize, but ‘TANGK’ feels like their strongest contender yet – a mature, adventurous album that retains their core values while pushing into thrilling new territories. Don’t be surprised if it earns them their third nod – and possibly their first win.
Bill Ryder-Jones – ‘Iechyd Da’
A quietly devastating journey through the liminal spaces of the human experience.
Released: 12th January 2024 Key Tracks: ‘I Know That It’s Like This (Baby)’, ‘Shadow of a Doubt’, ‘Nos Da’
There’s an almost painful intimacy to Bill Ryder-Jones’ fifth album, ‘Iechyd Da.’ It’s as if we’ve stumbled upon a collection of diary entries set to music – raw, honest, and achingly beautiful.
The title, Welsh for “good health,” feels both ironic and aspirational. The album exists in liminal spaces – between night and day, memory and reality, hope and despair. Ryder-Jones has always excelled at melancholy, but here he reaches depths that would make Nick Drake raise an eyebrow in appreciation.
Musically, ‘Iechyd Da’ is a study in contrasts. Delicate acoustic arrangements sit alongside walls of distorted guitars while string sections sweep in to lift songs to cinematic heights. Ryder-Jones uses his full sonic palette to paint a complete emotional landscape, resulting in an album that feels both intimately lo-fi and ambitiously orchestral, often within the same track.
His songwriting remains sharp and evocative, finding the universal in the deeply personal. There’s a confidence here that speaks to an artist fully realising his vision – the sound of someone who’s been through the wringer and emerged with stories to tell. In a year of big statements, there’s something refreshing about ‘Iechyd Da’s quiet honesty. Don’t be surprised if the Mercury judges lean in to listen.
Rachel Chinouriri – ‘What A Devastating Turn of Events’
A refreshingly honest exploration of early adulthood that proves even the most devastating turns can lead to moments of profound beauty.
Released: 3rd May 2024 Key Tracks: ‘The Hills’, ‘Dumb Bitch Juice’, ‘So My Darling’
There’s no scripted reality drama here, as Rachel Chinouriri’s ‘What A Devastating Turn of Events’ arrives like a gust of fresh air through a stuffy room. It’s an album that wears its heart on its sleeve, tackling weighty themes with a lightness of touch that makes even the darkest moments sparkle.
Chinouriri crafts a world as varied and unpredictable as a British summer. Indie rock swagger mingles with R&B smoothness, while flashes of electronic experimentation add intrigue. What really sets the album apart is its emotional honesty. Chinouriri’s voice is a remarkable instrument, conveying both vulnerability and strength, often within the same phrase. She tackles depression, self-discovery, and modern relationship complexities with refreshing frankness.
The album feels like a coming-of-age story told in real-time, each track a snapshot of a young woman figuring out her place in the world. It’s funny, heartbreaking, and triumphant – often within a single song. In Chinouriri’s hands, even the most devastating turns of events become opportunities for growth and self-reflection.
The Mercury Prize has a history of recognising bold debuts that capture the zeitgeist. ‘What A Devastating Turn of Events’ could be the next in that lineage – a fresh voice speaking to the anxieties and aspirations of a generation with wit, charm, and a healthy dose of self-deprecation. It’s an album that announces the arrival of a major new talent – one who’s not afraid to laugh in the face of devastation.
Sampha – ‘Lahai’
A sonic tapestry that weaves past and future into a breathtaking exploration of identity and time.
Released: 20th October 2023 Key Tracks: ‘Spirit 2.0’, ‘Only’, ‘Evidence’
Six years is an eternity in the music world, but Sampha has never been one to rush. His second effort ‘Lahai’ – named after his paternal grandfather – arrives like a time capsule from both past and future, familiar yet full of surprises.
Sampha’s production is nothing short of magical, transmuting disparate elements into sonic gold. At the core, though, is that voice – still one of British music’s most distinctive instruments. By turns fragile and powerful, it carries the weight of generations. When he sings of identity, family, and time’s passage, it’s more like overhearing a prayer.
‘Lahai’ pushes boundaries while remaining grounded in emotion and lived experience. Each track peels back another layer of Sampha’s psyche, revealing new depths with every listen. It’s a worthy successor to his Mercury-winning debut ‘Process’ – building on its strengths while venturing into uncharted emotional and sonic territories.
In a year of strong contenders, ‘Lahai’ stands out as a work of quiet power and profound beauty. It’s the kind of album that lingers in the mind long after the final note fades – the hallmark of a true Mercury contender.
Corinne Bailey Rae – ‘Black Rainbows’
A kaleidoscopic journey through cultural heritage that shatters expectations and rebuilds them in technicolour.
Released: 15th September 2023 Key Tracks: ‘New York Transit Queen’, ‘Peach Velvet Sky’, ‘Red Horse’
If you’ve come to ‘Black Rainbows’ expecting the dulcet neo-soul of Corinne Bailey Rae’s earlier work, prepare for a shock. This is an album that grabs you by the lapels and drags you through a whirlwind tour of Black history and identity, leaving you breathless, exhilarated, and possibly in need of a lie-down.
Inspired by Chicago’s Stony Island Arts Bank, ‘Black Rainbows’ is a genre-defying opus that ping-pongs from punk aggression to psychedelic soul with dizzying speed. Bailey Rae’s voice, once known for its honeyed tones, transforms into a chameleonic instrument capable of both defiant snarls and ethereal crooning.
Each track feels like a portal into a different facet of the Black experience, from joyous self-expression to the pain of historical erasure. It’s heady stuff, but a deft touch keeps it on track with ease. ‘Black Rainbows’ represents a seismic shift in Bailey Rae’s artistry – the sound of an artist shedding her skin and emerging as something startlingly vital. In a landscape that often prioritises safety, this album is a bold declaration of artistic independence.
Bailey Rae’s no stranger to the Mercury, but ‘Black Rainbows’ feels like a different beast entirely. In a world of monochrome, a black rainbow might be precisely what we need.
Jungle – ‘Volcano’
An eruption of funk and soul that proves sometimes the most impressive formations come from pressure and heat.
Released: 11th August 2023 Key Tracks: ‘Back on 74’, ‘Candle Flame’, ‘Problemz’
Jungle have always demanded listeners stop and pay attention. Their fourth album, ‘Volcano,’ doesn’t just grab the focus – it envelops it in a lush sonic landscape that’s all too easy to get lost in.
‘Volcano’ sees Jungle expanding beyond their retro-futuristic soul roots. There’s a newfound looseness here as if they’ve finally embraced the improvisational spirit of 70s funk that’s always inspired them. What sets this album apart is its balance of meticulous production and raw emotion. For all its studio wizardry, ‘Volcano’ feels lived-in and deeply human. Each track pulsates with joy, melancholy, and everything in between, mirroring the highs and lows of a night out with your closest friends.
Jungle have been Mercury nominees before, but ‘Volcano’ feels like their strongest contender yet – a fully realised vision that builds on their strengths while charting new territory. The sound of a band at their peak, ready to blow the roof off and take us all along for the ride.
PinkPantheress – ‘Heaven Knows’
A kaleidoscopic journey that proves sometimes, the algorithm can produce something genuinely worthy of our attention.
Released: 10th November 2023 Key Tracks: ‘Another Life’, ‘Nice to Meet You’, ‘Boy’s a Liar Pt. 2’
In the blink-and-you’ll-miss-it world of internet-driven pop, PinkPantheress has not only maintained relevance but grown her cultural cachet. ‘Heaven Knows’ cements her status as more than a fleeting TikTok sensation – she’s a bonafide pop auteur with staying power and a knack for earworms that burrow into your brain with impressive tenacity.
Her debut is a whirlwind tour through contemporary youth culture’s sonic landscape – not least because, as she’s said herself, she just can’t be bothered to listen to a whole album when there are bops to be playlisted. PinkPantheress weaves together UK garage, dream pop, and hyperpop threads, creating a tapestry that’s both nostalgic and startlingly current.
What’s remarkable is how cohesive ‘Heaven Knows’ feels despite its genre-hopping tendencies. PinkPantheress has a gift for finding common ground between disparate styles, creating connections that feel both surprising and inevitable. She’s harnessed the internet age’s frenetic energy into something focused and intentional.
Lyrically, the album explores Gen Z’s anxieties and aspirations with refreshing candour – lost in the doomscroll, distilling youth in the digital age into perfectly crafted snippets.
The Mercury Prize often recognises artists who capture the zeitgeist. PinkPantheress, with her genre-blurring sound and extremely online sensibility, feels like a natural progression in that lineage. ‘Heaven Knows’ is a fully realised artistic statement from one of British music’s most exciting new voices.
Blur – ‘The Ballad of Darren’
A masterclass in ageing gracefully from a band who never really feel like they’re ready to call it a day.
Released: 21st July 2023 Key Tracks: ‘The Ballad’, ‘St. Charles Square’, ‘Barbaric’
There’s an art to growing old gracefully in rock, and with ‘The Ballad of Darren’, Blur prove they’ve mastered it with the finesse of a retired ballet dancer taking up tai chi in the park. Their ninth studio album finds the iconic British band in a reflective mood, trading youthful exuberance for nuanced introspection. The result is their most emotionally resonant work since ’13,’ feeling like a warm embrace from an old friend who’s seen some things.
‘The Ballad of Darren’ inhabits the spaces between – youth and middle age, nostalgia and forward-thinking, personal and universal. Damon Albarn’s voice, weathered by time, carries a gravitas that adds new depth to his observations. When he sings, “I’m not who I wanted to be”, it’s a moment of vulnerability that feels earned, like overhearing a confession in a particularly melodic confessional.
What’s striking is Blur’s comfort in their own skin. There’s no attempt to recapture past glories or pander to nostalgia. Instead, we get four old friends making music purely for joy, their chemistry undimmed by time.
Blur are no strangers to the Mercury Prize, but ‘The Ballad of Darren’ could complete the hat trick – a late-career gem standing alongside their best work. In a year of young upstarts, there’s something to be said for the quiet confidence of veterans who know exactly what they’re doing.
Yussef Dayes – ‘Black Classical Music’
A genre-defying masterpiece.
Released: 8th September 2023 Key Tracks: ‘Black Classical Music’, ‘Rust’, ‘Raisins Under the Sun’
Ignore the categorised playlists, as Yussef Dayes’s ‘Black Classical Music’ arrives like a glorious spanner in the algorithmic works. It’s an album that defies easy classification, drawing from jazz, funk, afrobeat, and electronica to create something entirely its own.
Dayes’s drumming remains the album’s beating heart, propelling each track forward with relentless energy. But it’s his skills as composer and bandleader that truly shine. Each piece feels like a world unto itself, with Dayes orchestrating collaborators with a conductor’s deft touch.
What’s remarkable is how cohesive ‘Black Classical Music’ feels despite its sprawling nature. Dayes finds common threads between disparate styles, creating connections that feel both surprising and inevitable. Thematically, the album dives deep into the Black musical experience, exploring everything from Alice Coltrane’s spiritual jazz to Parliament-Funkadelic’s futuristic funk. It’s a work that feels both deeply rooted in tradition and startlingly modern.
The Mercury Prize often recognises genre-defying works, and ‘Black Classical Music’ feels like it could join that lineage – a bold, boundary-pushing album that expands our understanding of what British jazz, and indeed music itself, can be.
The Smile – ‘Wall of Eyes’
A thrilling evolution that proves even the most established artists can still find new ways to surprise us.
Released: 26th January 2024 Key Tracks: ‘Wall of Eyes’, ‘Bending Hectic’, ‘Friend of a Friend’
When The Smile first emerged, it was tempting to view them as a Radiohead side project – a busman’s holiday for Thom Yorke and Jonny Greenwood. But with ‘Wall of Eyes’, the trio establish themselves as a formidable entity in their own right, crafting a sound that’s both familiar and thrillingly new.
The Smile have mastered the art of creating music that’s simultaneously unsettling and beautiful, like a siren song luring you towards rocky shores. Yorke’s lyrics remain cryptic and evocative, his voice a spectral presence drifting through the songs like mist. But it’s the interplay between Greenwood’s guitar work and Tom Skinner’s jazzy drumming that truly sets The Smile apart. There’s a looseness and spontaneity here that feels genuinely exciting, as if these musical veterans have rediscovered the joy of simply playing together.
‘Wall of Eyes’ impresses with its sense of space and dynamics. The band knows when to hold back and when to let loose, creating tensions and releases that feel genuinely cathartic. It’s an album that rewards close listening, revealing new layers with each spin.
The Smile have delivered an album that pushes British rock into exciting new territories. It’s a reminder that even the most established artists can still surprise us, given the right circumstances.
Bob Vylan – ‘Humble as the Sun’
A molotov cocktail of an album that proves punk’s fire still burns bright when given real fuel.
Released: 5th April 2024 Key Tracks: ‘Reign’, ‘Dream Big’, ‘I’m Still Here’
In an era where ‘punk’ can often feel more like a fashion statement than a rallying cry, Bob Vylan’s ‘Humble as the Sun’ arrives like an incendiary device tossed like a brick through the window of complacency. It’s a third album that tackles race, class, and identity with a fury that’s impossible to ignore – even if you wanted to.
‘Humble as the Sun’ pushes Bob Vylan and their genre to the limit, creating a world that’s part underground club, part political rally, and part fever dream. It’s exhausting, exhilarating, and utterly essential.
It expands the band’s sound without losing the raw energy of their earlier work. There are moments of surprising vulnerability, flashes of dark humour, and even occasional melodic sweetness – all delivered with an authenticity that never feels forced. Like a prizefighter who learned to dance but lost none of their power, Bobby Vylan remains one of British music’s sharpest observers.
‘Humble as the Sun’ stands out as a work of rare power and conviction. An album that doesn’t just reflect the times but has the potential to shape them. Whether or not it makes the Mercury shortlist – we know they’re not the best when it comes to rock – it demands to be heard – preferably at maximum volume, with all breakables safely stowed away.
Romy – ‘Mid Air’
A love letter to queer club culture that proves the dancefloor can be a space for both catharsis and introspection.
Released: 8th September 2023 Key Tracks: ‘Loveher’, ‘Strong’, ‘Enjoy Your Life’
When The xx first emerged, they were hailed for their minimalist approach and intimate vocals. Fast forward to 2023, and Romy Madley Croft has delivered a solo album that retains that emotional intimacy while diving headfirst into dancefloor euphoria. ‘Mid Air’ isn’t so much a departure as an evolution – a shy caterpillar transforming into a particularly fabulous butterfly.
This record is a heartfelt ode to queer club culture, filtered through the lens of personal experience and loss. It exists somewhere between Saturday night’s peak and Sunday morning’s comedown, capturing both the heady rush of new romance and the bittersweet melancholy of the journey home.
What impresses most is how cohesive ‘Mid Air’ feels despite its varied collaborators and production styles. Whether she’s working with Stuart Price on the euphoric ‘Enjoy Your Life’ or channelling Pet Shop Boys alongside Jamie xx on ‘Weightless’, Romy’s distinctive voice and songwriting shine through. ‘Mid Air’ is a masterclass in tension and release. Romy and her collaborators excel at building tracks that simmer with anticipation before exploding into moments of cathartic release.
In a year of strong releases, ‘Mid Air’ stands out as a perfect marriage of heartfelt songwriting and euphoric production. Whether or not it makes the Mercury shortlist, it’s destined to soundtrack countless nights out, heartbreaks, and new beginnings. In Romy’s capable hands, mid-air feels less like falling and more like flying.
Barry Can’t Swim – ‘When Will We Land?’
A sonic odyssey with no fixed destination.
Released: 20th October 2023 Key Tracks: ‘When Will We Land?’, ‘Deadbeat Gospel’, ‘Define Dancing’
There’s something refreshingly genuine about Barry Can’t Swim. Joshua Mainnie’s debut feels like diving into a crystal-clear loch on a sweltering day, only to discover it’s filled with the most delightful fizzy pop you’ve never tasted.
‘When Will We Land?’ is a journey through contemporary electronic music’s landscape, with Mainnie as our expert guide. He weaves threads of deep house, jazz, and ambient electronica into a tapestry both familiar and startlingly original. For all its studio wizardry, it feels deeply human. Each track pulsates with joy, melancholy, and everything in between, mirroring the highs and lows of a night out (or in) with your closest friends.
Mainnie excels at creating tracks that evolve and mutate, taking listeners on a journey within a single song. In a year of strong contenders, Barry Can’t Swim stands out as a fresh voice with a unique perspective. ‘When Will We Land?’ is the kind of ambitious, genre-defying work that excites not just for what it is but for what it suggests about its creator’s future. It’s an impressive landing for an artist who, despite his chosen moniker, seems perfectly at home in the musical deep end.
Jorja Smith – ‘Falling or Flying’
A second album triumph that proves the sky’s the limit for one of Britain’s brightest stars.
Released: 29th September 2023 Key Tracks: ‘Try Me’, ‘Little Things’, ‘Feelings’
When Jorja Smith burst onto the scene with ‘Lost & Found’, she was hailed as one of British R&B’s most promising new voices. With ‘Falling or Flying’, she doesn’t just meet those lofty expectations – she glides straight past them.
It’s classic Jorja, but with an edge – there’s a newfound swagger in her delivery that suggests she’s not just found herself but is thoroughly enjoying who she’s become. ‘Falling or Flying’ is willing to take risks. Smith experiments with different genres and vocal styles throughout, never losing sight of her core strengths – that voice, those melodies, and her gift for storytelling through song.
‘Falling or Flying’ feels less like a second effort and more like a victory lap – the sound of an artist who knows exactly who she is and what she’s capable of. Whether she’s falling or flying, one thing’s certain – Jorja Smith is soaring.
Sprints – ‘Letter to Self’
A debut wrapped in distortion and delivered at full volume.
Released: 5th January 2024 Key Tracks: ‘Ticking’, ‘Cathedral’, ‘Literary Mind’
There’s a moment on Sprints’ debut ‘Letter to Self’ where frontwoman Karla Chubb unleashes a scream that seems to contain multitudes. It’s raw, cathartic, and strangely beautiful – much like the album itself.
Hailing from Dublin, Sprints have crafted a debut that feels both intimately personal and universally relatable. They aren’t just about fury and noise. There’s a more melodic side, too – but what sets ‘Letter to Self’ apart is its unflinching honesty. There’s no artifice here, no attempt to smooth out the rough edges. Instead, Sprints lean into the messiness and complexity of the human experience, creating music that feels vital and necessary.
Sprints have delivered a primal scream of an album. It’s a cathartic explosion of post-punk energy that tackles themes of anxiety, sexuality, and mental health with a ferocity that’s both thrilling and profoundly moving. Whether or not it makes the Mercury shortlist, ‘Letter to Self’ is an important album regardless.
Leave a Reply